Carnal: repeat formulas or be a market snack
As a prejudice open to the middle is this disc, which of the flesh is raised with a transversal idea: the universe as a human source to question freedom. A selection of songs whose eclecticism lies in choosing points of view, ideas and sensory evaluations that are compatible, only, combining them and mixing them in an adequate sound dramaturgy like the one proposed by Carnal, the most recent album of Good Faith, where it seems that the band - as the theme that gives title to the album suggests - agreed to be mouthful of the market jaws.
El fonograma tiene como base la experimentación con sonidos que mezclan la percusión y las cuerdas eléctricas, 14 piezas con una noción pluralista donde caben todas las voces, como evidencia, por ejemplo, el uso de sintetizadores y la fuerza escandinava del track Catrina.
The Carnal theme is a visceral and very personal dissection of believing even if there is a lack of motives and deserters of hope. This is confirmed by the letter: It does not matter, we go again ... / To try to understand what happened / To be the owner of what will come / the imposture is suicide in full sun / no way does not make it personal.
Como denominador común, en todos los cortes del CD se distinguen versos breves, apenas monosílabos o sintagmas que el grupo extiende a coro. Frases como: Estoy enamorado de la noche (en Patakí de Libertad), Quién soy yo, título además del octavo track del disco (una típica balada pop, donde ¿merodea la sombra de Ricardo Arjona?); igualmente, Ni una más and Carnal confirman ese tratamiento coral en el empleo de las voces que distingue al álbum y en donde, por primera vez en la historia de la agrupación, incorporan la voz de una mujer en los coros que, por supuesto, ofrece otra coloratura al producto final.
El disco, además, da la oportunidad a Yoel Martínez de corroborar que cuando asume el protagonismo como cantante —en su caso los solos vocales, con respaldo guitarrístico y sin demasiado sonido orquestal de fondo— le sienta bien. En esta oportunidad, ello deviene en el regalo a la medida para su hija Mía.
That is also the name of the song composed and performed by Yoel and that serves as a thematic bridge and turning point to tell individual stories written by Israel Rojas. The first four themes of the album revisit social conflicts: racism, the idea of freedom, the individualism that manifests itself as the poison in society, love for Cuba, faith, and the ability of its people to survive. The rest of the musical proposals individualize the stories, always from the artistic sensibility and especially body with which the Cuban present is enjoyed and suffered.
What began as a duo, almost entered the year 2000, has mutated in a band that returns to the root with the piece Blues de guateque. It is the claim, without forgetting, with the Guantanamo land and the East that saw them born. Thus, the group returns to the identity thematic line of Israel Rojas and Yoel Martínez and then reaches the capital throughMujer ciudad .
On the other hand, in Cuatro cuentos the neighborhood narrative is used as a common thread to sing, making visible the sui generis situations of a community. The proposal is a photograph of the neighborhood culture, that to which it is necessary to return again and again to understand the national culture.
The pats, meanwhile, are the portico of the theme Ni una más, a resource that in the past also assumed the group in titles such as Catalejo, of obvious popularity, and which also repeats in Música vital. The conversations at the beginning of the titles and the environmental dialogues without musical intervention are verified again in Madurar, another formula explored earlier in interpretations such asOjeo and Se bota a matar, which belong to Dial, the band's eighth record production.
In short, the group rereads its own work without big surprises. An album where more orchestral, sonorous work is given more preponderance, and… when it seems that the lyrics are going to connect with poetry to think —the aesthetic resource and creation of the group—, the compositions resent the lyric level of fall into a good dose of ease and have little of that sharp and critical depth of the beginnings of the duo.
Isely Ravelo Rojas